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Poster: grendelschoice Date: Jan 26, 2009 12:58pm
Forum: GratefulDead Subject: Re: ...and 'The Jerry' goes to....

give us your 5 "best show of the 60's" picks...you reprobate, or prepare to be flogged within an inch of your worthless, Syncophant-for-the-Coen-Brothers life!

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Poster: Bassy Twang Date: Jan 26, 2009 2:46pm
Forum: GratefulDead Subject: Re: ...and 'The Jerry' goes to....

12/10/65 -
"Mime troupe Benefit - Appeal II, for Continued Artistic Freedom in the Arts". Other artist(s): Jefferson Airplane, the Great Society, John Handy Quintet, the Mystery Trend, the Gentlemen's Band, the VIP's and others. Transcribed by Teddy GoodBear: ||||on the town|||| Lesson for the S.F. In the Mime Benefit ||||by Ralph J. Gleason|||| the benefit for the San Francisco Mime troupe Friday night at the Fillmore Auditorium (it was billed as "Appeal II, for Continued Artistic Freedom in the Arts") was a roaring success. Over 3500 people paid $1.50 apiece to be there. But it was a great deal more than a benefit. It was substantiation of the suspicion that the need to dance on the part of a great number of residents of this area is so great it simply must be permitted. The Friday night affair was basically a rock 'n roll dance such as the ones the Family Dog put on at the Longshore Hall. If this city was run for the citizens, such affairs would be commonplace and conducted say, once a month at the Civic Auditorium where there used to be numerous dances during the swing era. * * * At 9:30 there was a double line a block long outside the Fillmore Auditorium. At 1 a.m. It was still there, the individuals were new but the packed house still existed. Inside a most remarkable assembladge of humanity was leaping, jumping, dancing, frigging, fragging and frugging on the dance floor to the music of the half dozen rock bands--The Mystery Trend, the Great Society, the Jefferson Airplane, the VIP's, the Gentlemen's Band, the Warlocks and others. The costumes were freeform Goodwill-cum-Sherwood Forest. Slim young ladies with their faces painted a la Harper's Bazzar in cats-and-dogs lines, granny dresses topped with hugh feathers, white hats with decals of mystic design; bell-bottoms split up the side! the combinations were seemingly limitless. At each end of the huge hall was a three foot high sign saying LOVE. Over the bar was another saying "No Booze", while the volunteer bartenders served soft drinks. Alongside the regular bar was a series of tables selling apples! the only dance (outside of Halloween) I've ever been at where they sold apples, Craaaazy! in a corner past the apple table was a baby in a carriage, sound asleep with a bottle and a Teddy bear clutched in his (her?) arms. This crowd was so far out that when Milton Hunt, the distinguished North Beach boulevardier, entered wearing a scrape and a black sombrero and escorting a girl dressed in a Vikki Duggins skirt (cut six inches below the hipline and supported by a thin net top and that's all!) no one turned a hair. It was that kind of a night. Although it was a benefit for the Mime troupe in its fight against "the law's delay, the insolence of office" to which their handest refers in Shakesphearean terms, there were thousands there who never heard of the Mime troupe or at least never had been in one of their shows, as Ronnie Davis pointed out. They were there for a multitude of reasons, and the reasons bear examination. Some were there because the Mime troupe represents, along with Jerry Ets Hotkins, a battle for creativity in the arts. Others, and more I suspect, were there because the Mime troupe's park use hassle dramatizes another aspect of the struggle of US against tHEM. Still others were there as part of the rock revolution. They don't. need booze (as the swing era dancers did). All they need is the sound of the guitars. They get high on decibels alone. and they are hurting to dance. * * * SAN FRANCISCO has been hell on dances for years. The police obviously regard mass proximity of the sexes to the sound of music as a hazard equal to a time bomb. But I suspect this attitude will have to be tempered. The actual demand for dances is going to increase. The whole rock revolution points to dancing, the music ineluctably moves one to move. Another thing about the Friday night revel. There were no guards inside. There was an absence of uniforms and there was no trouble. It was the kind of crowd were over a dozen people stopped dancing, got down on thier hands and knees to help a girl find a contact lens that had popped out during a particularly dramatic movement. They scrambled on the dance floor for a few minutes and found it. She cleaned it in her mouth, popped it back in and the dancing continued. Don't knock the rock, as the British used to say.--Ralph J. Gleason (S.F. Chronicle, 12/13/65). http://www.pompano.net/~goodbear/concert_art/12_10_65.html David Sorochty: FWIW Rock Scully gives the following info in his book "Living With the Dead": 12-10-65: Little Red Rooster, I Know You Rider, Midnight Hour, Early Morning Rain Obviously that info comes from memory, not tapes.

http://www.archive.org/details/gd65-acid-tests.sbd.bershaw.5406.sbeok.shnf

http://www.archive.org/details/gd1966-01-29.sbd.bershaw.5411.shnf

Scorpio 45 RPM record. July 1966 release, but the actual date of the recording is more than likely sometime in June. See the above info listed under 6/??/66 and 2/5/66. From 'Taping Compendium': Gene Estribou had the first four-track in the San Francisco area, Buena Vista Studio, and here the Dead cut their first demo in June 1966. He was introduced to the Dead by photographer Herb Greene, when the band was playing in Palo Alto and Garcia still played bluegrass. Gene Estribou: First we had an Ampex three-channel instrumentation deck that Henry Jacobs brought into the studio. I had built a big horn and a studio and we had good condenser mikes and spent a lot of time optimizing the board. We went down to Western Recording and used their studio for doing some tapes that ended up being on the first 45 from Scorpio... See these 45's produced under the "Scorpio" labels: http://www.pompano.net/~goodbear/concert_art/stealin.jpg http://www.pompano.net/~goodbear/concert_art/dontez.jpg Michael Wanger: Teddy, thanks for your inquiry. Here's a bit of history: I met Bob Weir while attending Menlo School for Boys in 1961. Through Bob, I met his good friend, Vance Frost. Bob and I pursued our mutual interest in folk music and eventually performed together in a band called "The Uncalled Four." During the summer of 1964, while Vance and I were traveling around the country living out of a '56 Chevy station wagon, my brother, Peter Wanger, made a recording of Mother McCree's Uptown Jug Champions at top of the tangent in Palo Alto. Many years later, while attending Stanford University, I had a radio program for which I produced a series of documentaries on various aspects of the sixties' folk and rock and roll scene. After several programs, I asked my friend Vance to accompany me on air in order to provide a little more liveliness to the program. This approach was so successful that we decided to take it to the next step. We approached KSAN's Program Director, tom Donahue, with the idea of producing similar documentaries for KSAN. We wanted to start with Grateful Dead because we knew some of the band members and had the McCree recording. Donahue gave us an official go-ahead, so in the late fall and early winter of 1968 we began our interviews. We met with the entire band at Alembic, the band's Marin "clubhouse" as they called it, and recorded everyone but Pigpen who declined to be interviewed. We got such great stuff that we charged ahead with interviews of John Cipollina and David Freiberg of Quicksilver Messenger Service, Paul Kantner and Spencer Dryden of Jefferson Airplane and Ralph J. Gleason, the jazz critic for the S. F. Chronicle who was a strong advocate for the new music that was coming out of San Francisco. Starting in early 1969, we began putting the pieces together using the equipment at Golden State Recorders where Vance worked as an engineer. To fill out the early part of Grateful Dead's music history, we requested some early recordings. Rock Sculley gave us the first two singles, "Stealin'" and "Don't Ease Me In," along with some Fillmore recordings from 1966. We made copies and returned the originals to the Dead. The tape box labels featured on page 104 of the "The Deadhead's taping Compendium" is our label for those tapes. The documentary aired on KSAN in June, 1969. I guess there was an assumption, based on those box labels, that Vance and I had made some early recordings of Grateful Dead. Well, sad to say, it never happened. Currently, I am working with Grateful Dead Productions on an Enhanced CD of the McCree recording. The multimedia portion will contain a 1964 interview with Jerry, Bob and other band members. I also expect to include the first 11 minutes of the documentary which traces Grateful Dead's history up through their jug band period. Well, Teddy, it's been fun dredging up all these memories. Please let me know if you have any questions. Best, Michael Wanger 11/24/98

http://www.archive.org/details/gd66-07-01.sbd.vernon.19924.sbeok.shnf

Bill Gallagher: in the book "Berkeley At War" by WJ Rorabaugh (1989), p. 145 it says "In 1967 Canyon's hippies held a benefit concert to raise money to rebuild their general store. Country Joe McDonald, the Grateful Dead and others came to play. The narrow, winding road into Canyon was clogged with flower-painted VW vans." Canyon is a small community over the hill from Berkeley towards Moraga and Walnut Creek. Bill Gallagher contacted Country Joe and he said: "The benefit was held in Canyon, I believe, in the school yard of the little private school. I have a couple of posters of the event. cheers, cjm" Please DO NOT ask CJ for the poster

SEEN MY HOT WHEELS OR MY KALAMAZOO ?

http://www.archive.org/details/gd1967-xx-xx.sbd.studio.81259.flac16



This post was modified by Bassy Twang on 2009-01-26 22:46:10